J.J. Abrams, the wunderkind creator/writer/producer/director behind such TV shows as “Alias” and “Lost” and such films as “Cloverfield” and “Star Trek,” once again proves that when it comes to finding or creating great material, his gut instinct is second to none. “Morning Glory” is a breezy, delightful fall comedy that sparkles from start to finish, a fresh, welcome edition amid the solemnity of the current Oscar bait season.

Rachel McAdams plays Becky Fuller, a spunky early show producer at a small, New Jersey station who is given the chance to helm the ailing DayBreak, once the pride of a major Manhattan network but now in danger of cancellation. Desperate to turn the ratings around and validate the faith placed in her, Becky sets about instituting sweeping changes. Her most daring is hiring crotchety, retired news anchor Mike Pomeroy (Harrison Ford) to join Colleen Peck (Diane Keaton) at the desk. But Colleen loathes Mike (she’s not the only one — Patrick Wilson, who plays Becky’s colleague and, when she’s not too busy working, sometimes lover, dubs the distinguished newsman “the third-worst person in the world”) and it isn’t long before their mutual disgust with one another begins to show on air, torpedoing Becky’s plans.

“Morning Glory” moves at a breakneck speed, powered by the sorts of “West Wing” kinetics that keeps numerous walking and talking characters in the air at the same time. Aline Brosh McKenna, who wrote the hit comedy “The Devil Wears Prada,” returns to the workplace, once again inserting a young, untested girl into a tempestuous environment. Roger Michell (“Notting Hill”), who directs with a splendid eye toward his actors’ very best sides, conjures a comedic version of “Broadcast News” and “Network,” with a dash of “His Girl Friday” thrown in for good measure. The theme of entertainment vs. news is prevalent throughout the film, even as Becky suggests it was a battle the news division lost a long time ago. (Odd then that, instead of using the fantasy of the movies to consider how the news might once again become a proud, regal institution, “Morning Glory” runs with ever more outrageous comedic stunts. Yes, this is a comedy, and invoking the ghost of Edward R. Murrow probably wouldn’t garner many laughs here. But then why bring up the debate and pretend you’re on the side of the angels in the first place?)

This year, many of the best female performances have been in comedies. McAdams, whose adorableness can be measured on a seismograph, is absolutely beguiling, showing a heretofore-unknown flair for physical comedy. No one believes in Becky except Becky, forcing her to create a dangerous work/life imbalance. Of course, this is the sort of film that we know ends with Becky getting both the job and the guy, but to its credit, “Morning Glory” is a workplace comedy first and a romantic comedy second. Indeed, if anything, the film is a May/September romance without the romance, centering on McAdams and Ford, who comes with exactly the right amount of gravitas for the role. Together they form the most dynamic and rewarding relationship. Other standouts include Matt Malloy as a hapless weatherman and Jeff Goldblum as Becky’s boss. Goldblum doesn’t get a chance to do all that much with the part, but he’s one of the few actors working who lifts a film just by being in it.

GRADE: A-

Directed by: Roger Michell

Starring: Rachel McAdams, Harrison Ford, Diane Keaton, Matt Malloy, Patrick Wilson

Rated: PG-13

Running Time: 110 minutes

Photo by